| Robert McClure

To be fair, Kate and I did just spend the last 2 months essentially living out of suitcases, moving twice, attending numerous family events, planning for a new job, and did I mention moving to China? That is quite a lot to pack into a few months.

But, I think this started before the big move. I've been steadily working on my Memory Variations piece which I am happy with and it is going well. But, I've been "working" on a piece for vibraphone and computer for Stephen Tobin for the better part of the a year. I had momentum before having to break off work to focus solely on the dissertation. I haven't done any of the computer part. I have several ideas for new pieces but until I finish something, I'm not allowing myself to work on anything new.

Moving has been completely devastating to creativity. I have no everyday structure in place. I have no desire to work on anything. But, again, this all started right around the time I finished my dissertation. That piece took a lot out of me. Maybe it is good that I have kind of taken a break for five months. With Memory Variations, I only work one day every three weeks. That is the nature of the process. I haven't steadily gotten into a routine. It is frustrating especially when Facebook is informing me about everyone else's new pieces, new festivals accepted, etc. (However, Facebook is only for "bragging." I'm sure people have their own problems and self doubt)

Anyway, I'm curious about what composers do in this kind of situation. If you have some advice, I'd love to hear it.

My go-to is The Artist's Way or Walking in This World. And be gentle with yourself.

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Andrew Schneider

8/13/2013 05:43:59 pm

You know, I'm in a bit of a similar rut myself. What I find works, thanks to my ongoing position as a church organist, is to attempt to write down organ music. Maybe two variations on a hymn tune at a time for inclusion in a fantasy or passacaglia

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Andrew

8/13/2013 05:47:48 pm

On said. Organ music is the closest analogue to the world of percussion ensembles: you have to rely on unchanging textures for long periods of time; at least with the organ, it's expected that everything will sound incredibly good no matter what its content, though the longer the better. Plus, I've learned how to surrender many aspects of notation to the performer that simply are not worth worrying about.

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Andrew

8/13/2013 05:50:19 pm

It REALLY helps me with my big problem, which is "budgeting" the voices so there are actually enough. It preoccupies me because I can hear so many implied notes of a chord that the question of how many is enough is extremely difficult for me. Plus, the real question that you seem to bring up about how

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Andrew

8/13/2013 05:53:06 pm

To sustain a texture over time is especially prevalent in the organ world in a way that applies itself to other instruments, because only by controlling such a mighty instrument do you really learn to listen to the Hz and how they are really perceived in a space. Then you really understand flutes, violins, and other instruments that can sustain a tone and create an impression of restlessness just by playing a single half note in the right place, for instance. Good Lord, I'm scatterbrained!